New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1887-02-20
VERDTS "OTELLO.n
THE LATEST AND ONE OF THE GREATEST
OF ITALIAN OPERAS.
Milan. REQ c, Dtspa,eh 10 The London Times.

Milan. fso c. Dt,pateh 10 The London Times -.
At O'Clock yesterday afternoon the entrances TO the
gallery OF La Scala the only unreserved part Of tine
theatre crowded by ar eager Lultitude THIS
morning at / o'clock crowo shouting and yelling
outside the Hotel Nan compelling Verdi 10 appear at
the window more than once.
The kerform commenced at quarter past 8, and
was n OF oser i'll after midnight. although the actual
play ng di no. occupy much more than TWO hours Inc
acts much shorter by the way here than III England
and by encorts. -
That Verdi IS a mao Of genius bis last work bears
ample proof There Is falling OF In melolic power
and there marked advance ip the purity OF ai, and
of the means by which That ain is attained In the
matter OF orchestration the progress made ty the
master. ida 10 specially remarkable Moth
age which accom- the festive chorus IN the first
ae aud nothing more beautiful Ia It's tonal enec than
tie treatment OF the ovemOve heard first IN the duet
and repeated at the end OF the opera
What strikes one rst OF al Is the ST., singular as
~orket-how the primary impnI.e supplied oy tne
former has beau felt and rendered thIodsh musical
by tue latter, how word,inelody ana tone melody
their Joint effort. All this implies very high
which IN this case IS the same thne 10 shakespeare
The tragic element is here SO; forth with force
siSeit ssblc 10 The italian writer ouy by
French translation Is preserved almost In its Pnrty IN
design, seems almost unnecessary to point out tue
detached beauties OF Which Ctiio" cont"n. no s9all
Cyprus is instance Of picturesque writing as power
tine M al oir S a. 's
no means brtndst IN tho conventiona sense TIE
eEIomatic phrase Tor Iago supplying the "uncanny"
of leading to such dire results
The duet which concludes his act has already been
mentioned more than once l. Is repete Win pehuuu
melody OF the Italian type. and tie enharmonic
change from sharp tO ID fiat throws as Were ray
OF Light upon Oheitos closing works. - Wen, Venere.
spleude The great quartet In The second ACT sImost
foand in Rqoeno" FeIe te priyele,e of music which
places IL In advance OF all other arts nean Tue power
Of giving express sion to the noeI divergent
feelines-is shUwn in brilliant light Inc serene
innocsnee OF Desdeo"a nnds its equivalent in h'wipe
melody Oaseiios gro wing jealousy 10 heard IN rest
less OF ssmquavers, the Asiies OF hmth anu OF
I0oo Arc indicated with the subt.est touch nnay Inc
voices units IN burst OF beautiful harmony
of the hankcrchcf" illustrates very different style 81
writing Iogo and Casio occupy the 'front.' OF
the stase tue bsckgi Ound watches Cdssios
harmless gayey the uckess Jdsoteo msinterpret
Here sonOrous effect Is almost forgotten over uia
alton Idgo. AS sonspoken ms ever Cassio
6a,fecflv uncopscous OF the tragic issues Impending
itheUo ravne ut the supposed PROOF OF he
b, the music The great sestet with chorus
IN the third act the nearest approach 70 Tue
0uae 70 be found IN the score must also Dc
IN this co nsction. Tho Only character WHO nae
6uy accounted for By the dramatic situation put most
beautiful IN sel. 1t IL none oiher tuan .a Srn
Willow. willow" (hOw different, ~ tne whys non,
ossins Asssa al pie dun salce J! wnlcn Desaen.oa
willow Song rs conceived In the spirit Oh TUSCAN
fpsto. The melody lie - susvs - u - orgin anu TUG
3nterludo between the stanBass CONSUMING ot con.vu
nords dives peculiar favor 70 IT, Sosh'na on ,r ,Is
.s0nsconsly prepares herself for traIe creme TO
keow The scene y treated 70 msstssiy msSs osars
Che mind ike the nightmare Of . dream.
Whether OtelioA will popular 10 tho sense tpat